Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 21007). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p020 RIGHT — 33 lignes

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1 23 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 12) annotation_inline
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4 (Objection) But the twenty-two-fold nature of śrutis does not also stand reason main
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5 (or is not amenable), because of the non-perception of srutis and the parts of main
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6 śruli. annotation_inline
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7 It has been said— annotation_inline
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8 "How can the perception or apprehension of this (śruti) take place? The main
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9 nabhas (ether, space) cannot become disturbed (vyākulita) in the beginning main
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10 (before svara); śruti has imperceptible parts and hence it does not appear as main
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11 being composed of parts. annotation_inline
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12 (Objection continued) annotation_inline
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13 "(If it be accepted that) they do exist, then how many are they in relation to main
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14 mātṛkās 59 (subtle bases)? If they are twenty-two, what is their process by krama main
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15 (straight order) and utkrama (reverse order)? main
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16 "If the infinity or singularity of śrutis becomes unavoidable, (then) there main
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17 would be a doubtless state of those mātṛkās. Mātṛkās themselves are not there, main
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18 how (why) should there be their vikalpana (assumption, imagination)? main
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19 "The wise say that the existence (sattā) of dharmas (attributes) <math>^{60}</math> is there main
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20 when the dharmin (the one to whom the attributes belong) is there. When the main
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21 dharmins are not there, the dharmas are (also) not there, so say the wise. The main
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22 sattva (existence) and asattva (non-existence) of gunas and dosas are there main
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23 when (the same occur in respect of) gunins (those to whom the gunas belong). main
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24 "If the respective śrutis become the cause (of svaras) without themselves main
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25 having a cause, then their origin (or) cause should not be sought. main
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26 "Moreover, if in spite of there being equal tangibility (of śruti and mātṛkā) main
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27 through pramāņa (means of valid perception), mātṛkās are concealed (denied), main
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28 then it would be very difficult also to save śrutis (i.e. śruti will also have to be main
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29 denied)." annotation_inline
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30 Now is being said (in answer)— annotation_inline
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31 Srutis that are the cause of the manifestation of svara are grasped by main
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32 arthāpatti (negative inference) anumāna (inference) or pratyakṣa-jñāna 61 main
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33 (perception) (43) annotation_inline
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vol_II_p108 LEFT — 17 lignes

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1 BRHADDEŚĪ page_header
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2 198 page_number
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3 उदाहरणम् - .....शुद्धा । [१४] page_header
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4 [.....]<sub>&o</sub> page_header
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5 उदाहरणम् – धापा निनिसा निधानिगामा पापारिपापा धानिनि । धानीगारी गासागासा सा - page_header
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6 सासापा पामापापा । गमसानिगागमसा गासाधामागामामा । मध्यमा [१५] page_header
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7 पञ्चमांशा पार्वती[स्याद्]धैवतान्ता च देशजा । editorial_bracket
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8 तु पार्धत्या annotation_inline
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9 ४१क्षत्रपरिषदि गीता पूर्णा षड्जसमुद्भवा ॥३३॥ main
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10 हृष्टा क्षत्रपरिषदि गीयते पूर्ण क्सु (?) main
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11 उदाहरणम् - पापापागा मारिरिनिरिमधा पापापा सारिमा । पागारिरिसनि धापापाधा । पार्वती । [१६] editorial_bracket
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12 ॥ इति शार्दूलमते [भित्रषड्जस्य] भाषा: षोडश समाप्ता: ॥ editorial_bracket
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13 लक्ष्यलक्षणसंयुक्ताः प्रस्तारेण समन्विताः । main
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14 उक्ता भाषा: समीचीना विभाषाभिर्विभूषिता: ॥३४॥ main
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15 •(पि? भि)॰ annotation_inline
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16 ॥ इति भाषालक्षणं समाप्तम् ॥ editorial_bracket
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17 [॥ इति चतुर्थोऽध्याय:॥] editorial_bracket
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vol_II_p129 RIGHT — 25 lignes

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1 241 page_number
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2 TRANSLATION page_header
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3 [43. Varņasvara] section_header
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4 That which is composed with pāṭas of the hand and is again combined with main
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5 tenakas, is combined with svaras, padas, pāṭas and tenakas (and) is sung in main
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6 combination with tāla, that is known as varņasvara. main
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7 (486) annotation_inline
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8 [44. Muktāvalī] section_header
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9 (That which) is sung with charming padas having anuprāsa (and where main
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10 there) is the name of the object of description, that is known as muktāvalī. main
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11 (487) annotation_inline
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12 [45. Pratāpavardhana] section_header
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13 Well combined with pāṭas generating enthusiasm and also with svaras, main
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14 tenakas (and) where singing is accomplished with the birudas of the object of main
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15 description, that is said to be the prabandha pratāpavardhana. main
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16 (488) annotation_inline
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17 Thus eight above forty 92 (48) beautiful prabandhas are clearly to be seen. main
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18 (489) annotation_inline
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19 [The blemishes of gita] section_header
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20 One should avoid (the song) that is defective by the standard of the people main
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21 (loka),93 defective by śāstraic94 (critical) standard, repetitive, defective in main
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22 metre and vulgar or indecent, embodying deviation from proper order, main
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23 devoid of meaning, 95 having dubious text and meaning, indulging in main
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24 violation of (kalās 96 and) split.97 main
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25 (490) annotation_inline
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vol_I_p016 RIGHT — 33 lignes

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1 15 page_number
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2 TRANSLATION page_header
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3 "Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis; main
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4 some (speak of them) as being differentiated into sixty-six. Others propound main
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5 their infinity itself." annotation_inline
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6 (Anu. 7) annotation_inline
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7 But then, what is the measure of śruti? It is being explained. Pañcama is main
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8 known as being seated in the two grāmas.19 The difference of that (pañcama) main
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9 through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through main
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10 mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or main
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11 extended) is the measure of śruti (lit. śruti is of that measure). main
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12 (Anu. 8) annotation_inline
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13 Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis main
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14 is thus (being given). Having made two viņās equal in measure,25 string,26 main
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15 upavādana 27 (the place where the strings are tied up at the lower end of the main
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16 viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should main
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17 be established in şadjagrāma.50 On one of these, having made the śruti main
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18 madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa main
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19 (lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32 main
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20 (belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes main
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21 lowered by (one) śruti, but there is no special gain,34 because of there being main
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22 only the perception of high and low. Again one should lower in the same main
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23 manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.) main
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24 on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification main
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25 (karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra- main
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26 niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha- main
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27 dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is main
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28 lowered in the same manner, will enter the pañcama-şadja on the other (viņā), main
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29 on account of their being 'more's8 (higher) (than the latter) by three śrutis main
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30 (each). Again also, on the (cala) viņā that is lowered in the same way, pañcama, main
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31 madhyama and şadja enter madhyama, gandhara and nişada respectively on the main
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32 other on account of their being 'more'39 (higher) (than the latter) by four main
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33 śrulis. annotation_inline
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vol_II_p074 RIGHT — 35 lignes

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1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
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4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
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12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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143 lignes a valider — change uniquement les roles incorrects.